In sections on taxonomy, text, editing, space, and plays, they consider such topics as inventing stage directions and demoting dumb shows, reading Shakespeare's stage directions, when a missing stage direction is missing, unpicking early modern stage directions, Shakespeare's Macbeth and the staging of trauma, and echoic liminalities in The Duchess of Malfi.

Featuring musical direction by Andreas Spering performed by Capella Augustina and Les Arts Florissants, stage direction by Richard Brunel, set design by Chantal Thomas, and costume design by Axel Aust, and a youthful cast of talented performers, this particular incarnation of the production transposes its famous characters in the dramatic contemporary world of lawyers for a thoroughly enjoyable and supremely creative reinterpretation of a classic masterpiece.

McManaway believed that the manuscript is a playhouse text because there is fairly secure evidence that the leaves were folded for margins in the familiar playhouse fashion and because there is a curious, clearly anticipatory stage direction on folio 46b (of which more later).

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